To love the language
With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
19 pieces since 2007 — in 7 roles, at 7 companies, most often at Bayreuth Festival.
With most of us dug in for the duration, there’s no better time to tuck into a CD box set of neglected treasures. Not that I needed an excuse, mind you.
Live recordings of Hans Knappertsbusch conducting Parsifal seem to proliferate like stairways in M.C. Escher prints.
“Never in my life having enjoyed the true happiness of love I shall erect a memorial to this loveliest of all dreams…”
The curious things about accepted wisdom is that sometimes it’s correct.
Chris’s Cache highlights the erstwhile Chicago Symphony Orchestra @ Carnegie series with not one but two starry operas conducted by Georg Solti: Salome with Birgit Nilsson and a performance of Moses und Aron
The cast of Wiener Staatsoper’s first-ever performance of Lulu in 1968 reads like a Who’s Who of then-contemporary Austro-German opera: the 28-year-old Anja Silja, Martha Mödl, Waldemar Kmentt, Hans Hotter, Hilde Konetzni, Manfred Jungwirth, Heinz Zednik, and Karl Böhm presiding over a production by Otto Schenk.
There has been a conspicuous absence of chat on Parterre about this year’s Bayreuther Festspiele.
Myto’s transfer of Herbert von Karajan’s star-bedecked 1958 Die Walküre from La Scala gives collectors on a budget access to one of the legendary performances committed to tape.
I was once accused—by my own mother, mind you!—of having too many recordings of Verdi’s Aida. The blistering audacity of that recrimination did get me to thinking: How many recordings of Aida is too many? I mean, you’ve got the old classic you cut your teeth on. Then there’s he one where the tenor and […]
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